While the aesthetics of Rancière is a well-explored topic, there has been something missing from the reception of his works, and that is the relation between Rancière’s aesthetics and music. However, in recent years an interest in this relation has resulted in several academic contributions, which is sign enough that there is in fact a musical element in his works. Rancière himself, in response to this reception, has acknowledged as much. Music is a human form of expression that uses the (...) physicality of air to produce vibrations that encounter and resonate with the human body. Musicality is the ability to attend to such vibrations and harness the expectations and surprises that they bring about. In this article, I explore how a musical approach to Rancière’s writings can inform educational philosophy, especially as regards the practice of teaching. Particular attention is paid to his notion of the sensorium as a sensible realm where we experience and encounter difference and otherness, in political events as well as in teaching situations. Attending ethically to these situations is predicated on a certain sensibility that involves certain aesthetic qualities. In this article, I explore this sensibility as a particular educational musicality. Drawing from educational philosophy, the aesthetic theory of Jacques Rancière, and music philosophy, I connect this musicality of teaching to an ability to navigate in an ethical space that comes to life through a material/sensible community of interests formed in teaching practice. I use the term acousmatic experience as an explorative device in an attempt to depict teaching practice as something that can bring about a specific educational sensorium. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the origin (...) of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)

Educationalists are currently engaging with Jacques Rancière’s thought on emancipation and equality. The focus of this paper is on what initiates the process that starts emancipation. With reference to teachers the question is: how do teachers become emancipated? This paper discusses how the teacher’s life is made ‘sensible’ and how sense is distributed in her life. Two stories are taken from Rancière’s own work, that of Ingrid Bergman and Joseph Jacotot, that give us an indication of the initiation process of (...) emancipation. Then I will see this in relation to the teacher, Mr Briggs, who is one of the main characters of the play Our Day Out (1987) by Willy Russell. (shrink)